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    • “A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45

      Marko Bauer
      October 2022
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    • Film Criticism and the Grotesque: A Very American Tár & an Oz Elvis

      Laleen Jayamanne
      August 2023
    • The aesthetics and politics of melodrama, reconsidered: Delitto d’amore / Crime of Love

      Thomas Austin
      August 2023
    • Horse-People and White Voices: Neoliberalism and Race in Sorry to Bother You

      Thomas Austin
      May 2023
    • The Exorcism of Sinister Ghosts: Saralisa Volm’s The Silent Forest

      Peter Verstraten
      May 2023
    • Spectatorial Labour: The Political Vision of Sergei Loznitsa’s Documentaries

      Santasil Mallik
      May 2023
    • When Knowledge Takes Over Action: A Narrative Analysis of Three Georgian Conflict-Sensitive Films: The Other Bank, Tangerines, and Corn Island

      Khatuna Maisashvili
      January 2023
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    • The Klezmer Project (Adentro Mío Estoy Bailanado): A Conversation with Leandro Koch and Paloma Schachmann

      Marko Bauer
      August 2023
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    • “Can You Prefigure Reality?”: A Conversation with Christoph Hochhäusler on his new film, Bis ans Ende der Nacht (Till the End of the Night)

      Marco Abel
      August 2023
    • Chunky Shrapnel: A Conversation with John Angus Stewart

      C.S. Harper
      August 2023
    • A Cinematic Sojourn to the Land of Awe and Astonishment: Interview with Laura Citarella about El Pampero Cine and Trenque Lauquen

      Hamed Sarrafi
      August 2023
    • Here: An Interview with Bas Devos

      Maria Giovanna Vagenas
      May 2023
    • A Different Kind of Love Story: An Interview with Dustin Guy Defa

      Brigitta Wagner
      May 2023
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      Maja Korbecka
      May 2023
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      Marko Bauer
      October 2005
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      Jeremy Carr
      May 2023
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      Benjamin Kooyman
      May 2023
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      Sherry Johnson
      January 2023
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      Giampiero Frasca
      January 2023
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      Jeremy Carr
      October 2022
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      Hal Young
      October 2022
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      Marko Bauer
      October 2022
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      Eloise Ross
      August 2023
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      Wheeler Winston Dixon
      May 2023
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
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      Jeremy Carr
      May 2022
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      Mark Lager
      May 2022
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      The 22nd Sarajevo Film Festival

      Marko Bauer
      September 2016
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    • Towards A Domestic Cinephilia: The 24th Jeonju International Film Festival

      Marc Raymond
      August 2023
    • Direct Cinephilia: Play-Doc 2023

      Fedor Tot
      August 2023
    • Stardust chronicle, a report from the 69th Internationale Kurzfilmtage Oberhausen

      Arindam Sen
      August 2023
    • Rising from the ashes: The 47th Hong Kong International Film Festival

      Maja Korbecka
      August 2023
    • The 22nd Transilvania International Film Festival: Open-world Stimulations

      Peter Virginas
      August 2023
    • Prismatic Ground 2023: Labour Seen

      Will DiGravio
      August 2023
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      Labour Intensive: The Writers: A History of American Screenwriters and their Guild by Miranda J. Banks

      Marko Bauer
      September 2015
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    • The Rebellious and the Rigorous: The Red Years of Cahiers du cinéma (1968-1973), by Daniel Fairfax

      Tony McKibbin
      August 2023
    • A Journey through Serge Daney’s Cinema House

      Emmanuel Bonin
      August 2023
    • Bloody, Raging Females: Five Books Examine Contemporary Feminist Horror Films

      Holly Willis
      May 2023
    • Cinematic Bottom-Feeding: Why It’s OK to Love Bad Movies, by Matthew Strohl

      Sam Woolfe
      May 2023
    • For a Double-Edged Theory: Christian Metz’ Essais sur la signification au cinéma at 50

      Abel Muñoz Hénonin
      January 2023
    • Dennis Lim’s Tale of Cinema: A Meta-Monograph

      Marc Raymond
      January 2023
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      Erotikon

      Marko Bauer
      April 2009
      CTEQ Annotations on Film
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    • Czechoslovakia’s King and Queen of Comedy: Anny Ondra and Vlasta Burian in An Old Gangster’s Molls (Svatopluk Innermann, 1927)

      Shari Kizirian
      September 2023
    • It’s About Time We All Met a Happy End (Oldřich Lipský, 1967)

      Cerise Howard
      September 2023
    • Heave Ho! (Martin Frič, 1934)

      Faith Everard
      September 2023
    • Tomorrow I’ll Wake Up and Scald Myself with Tea (Jindřich Polák, 1977)

      Danica van de Velde
      September 2023
    • The Woman Suffers: “South Australia’s greatest film production” (Raymond Longford, 1918)

      Stephen Gaunson
      September 2023
    • The Sentimental Bloke (Raymond Longford, 1919)

      Darragh O’Donoghue
      September 2023
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Author Marko Bauer

Marko Bauer

Marko Bauer is a freelance writer exploring the freedom of useless thought and unwaged labour.

Pump and Dump: The Wolf of Wall Street

Marko Bauer
October 2014
Feature Articles
The Wolf of Wall Street (Martin Scorsese, 2013) is a repulsive affair. A hybrid of Wall Street (Oliver Stone, 1987) and American Pie (Chris and Paul Weitz, 1999) it comes short of the former as well as the latt...

Thank God We Don’t Have a Pope: Habemus Papam, Moretti’s Apocalypse

Marko Bauer
March 2013
Feature Articles
“As nihilism becomes more and more the norm, the symbols of emptiness spread much more terror than those of power do.” – Ernst Jünger One nearly misses Habemus Papam (We Have a Pope, 2011) for the reason abse...

Pure West: Drive, nostalgia for postmodernism

Marko Bauer
July 2012
Feature Articles
It is a one way street and there, Walter Benjamin says: “What, in the end, makes advertisements so superior to criticism? Not what the moving red neon sign says – but the fiery pool reflecting it in the aspha...

“Even God Was Overcome by Laziness”: An interview with Aleksandr Sokurov

Marko Bauer
December 2011
Feature Articles
A true poet of the cinema, the director of, amongst others, Russian Ark and The Sun, talks philosophy, religion, aesthetics and the Russian soul.

Son of Atlantis: prologues and epilogues with Sokurov

Marko Bauer, Luka Umek and Dasa Cerar
December 2011
Feature Articles
Using interview footage of Sokurov and combining it with other elements, the filmmakers produce a contemplative video-essay on the director.

Like Tears in… Brain

Marko Bauer
December 2011
Feature Articles
“The brain is the flesh.” Using ‘Artaud-Deleuze’ as a guide, Marko Bauer traverses the cerebral territory of Gaspar Noé’s film. Enter at your peril.

“Films are vulgar. And this vulgarity, I love it”: An Interview with Arnaud Desplechin

Marko Bauer
October 2010
Feature Articles
In this free-form interview the director of A Christmas Tale, King and Queens, amongst others, discusses everything from Truffaut and Godard, Stanley Cavell and disaster movies, Nietzsche and Italo Calvino, Jean Gabin and hip-hop, and more.

Established in Melbourne (Australia) in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.

Senses of Cinema was founded on stolen lands. We acknowledge the sovereignty of the Wurundjeri and Boon Wurrung people of the Kulin nation and support all Aboriginal people on their paths to self-determination.

 

© Senses of Cinema 2019

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Editors:

César Albarrán-Torres • Amanda Barbour • Tara Judah • Abel Muñoz-Hénonin • Fiona Villella

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